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Lot 50
Qing Dynasty - a Chinese ceramic water pot. The small, circular, waisted neck above a mottled red, green and pink glaze. Blue concentric circle mark to underside (13cm diameter)Condition Report: The is prevalent glaze crazing, some discolouration to the inner lip, some markings to the underside - it is noted that the glaze does not cover the entire foot.
Lot 529
Four pieces of miniature furniture: an antique-style pine dresser having shelves, glazed door and named ceramic drawers above a lower base section with three further drawers and cupboard doors (23cm wide)a 19th century style pier cabinet with single glazed door and faux stringingan oak fireplace in 1920s stylea set of miniature wall shelves
Lot 532
A miniature black-painted cast-iron fireplace; in 19th century style, of ornate design and with three horizontal bars flanked by canted ceramic marble-style verticals. The fireplace against an internal wallpapered surround (the plinth base and surround 55.5cm wide x 46cm high, the iron fireplace 36.5cm wide)Condition Report: In the Auctioneer's opinion this item does look like this item has some age, it has been mounted at a later stage and with the original oxidisation to the back of the fireplace his date would be late 19th/early 20th century, the wooden mounting later. The piece is in good overall original condition with glaze crazing showing on the two canted angles and some natural minor pitting and corroding but nothing too bad.
Lot 62
A pair of Chinese ceramic and white-metal-mounted ornamental shoes; the ceramics decorated with temple dogs with brocade balls, the white-metal mounts with dragons and fen in high relief on either side. Two-character mark to the white-metal soles. (star crack to one ceramic base, 12cm high)Condition Report: one of the shoes has a star crack to the porcelain insole inside. The silver coloured mounted bases look quite discoloured but the other porcelain shoe appears to be in good overall general condition with no cracks, chips or restoration noted. Both appear to blue four character marks painted to the inside.
Lot 69
An 18th/19th century blue and white porcelain jar decorated with a lone boatman on water before buildings and rockwork etc., pierced dome-topped wooden cover, later inner ceramic cover and raised on a patinated hardwood stand carved as lotus petals (the vase 28cm high including domed cover)Condition Report: The wooden cover appears in good general overall order with a minor piece away to the pierced edge and one or two other minor pieces away to the open fretwork carving. The main jar has a later circular internal cover and appears to be in good general overall original condition with some bubbling or glazed areas to the outside and also to the underside of the inner foot rim which is unglazed. A nice heavy jar with good painting but some wear to the surface of the stand.
Lot 82
Yuan / Ming dynasty - two small, circular ceramic dishes. The larger with a mottled grey glaze (9.5cm diameter) and the smaller resting on a circular foot with recessed base. (7.25cm diameter) (2)Condition Report: The smaller of the dishes there is very minor rim fritting to the inside of the circular foot underneath, the rest of the dish appears OK. The larger example also appears in good condition.
Lot 130
Plate of the Palmeta. Talavera de la Reina, XVIII century.Glazed ceramic.Measures: 34.5 cm. diameter.Glazed ceramic dish belonging to the Palmeta Series, with cobalt blue on white decoration, combining spirals and palmettes characteristic of Talavera. Of Muslim origin, Talavera de la Reina ceramics acquired industrial importance in the 16th century. Quoted by Cervantes, Lope de Vega and Tirso de Molina, Talavera earthenware can also be documented in a large part of Spanish Baroque painting. Used by nobles and the humble, its commercial monopoly was in constant conflict with Sevillian earthenware. One of the architects of the recovery of Spanish Talavera ceramics was Juan Niveiro with the founding of the "El Carmen" factory; the incorporation of workers brought from Manises meant another important change in its decorative series. Changes that would reinforce the tricolor series produced by another emerging pottery in the mid-nineteenth century: "La Menora". The earthenware and tiles produced in Talavera de la Reina (Castilla La Mancha, Spain) throughout its five centuries of recognized ceramic tradition has generated such a rich and varied typology that a classification into series proposed since the end of the 19th century by different specialists has become necessary in order to facilitate their study and cataloguing.
Lot 321
A 19th century Chinese porcelain tea cup decorated with Scholars in the sancai palette; a pair of chinese republic period figures; decorative Noritake ware; a pair of miniature Satsuma vases, 20th century; a Worcester Kerr and Binns period tea cup and saucer, c. 1862; other oriental and european ceramic, mostly late 19th and early 20th century, qty.
Lot 282
glazed earthenware, painted signature in green, printed factory stamp, impressed 14322.5cm highFootnote: Note: In 1897 William Moorcroft was employed as a designer at James Macintyre & Co.; with a background in ceramic chemistry, he was a keen experimenter and introduced an array of new wares and glazes to the production line. However, it wasn’t until the launch of ‘Florian Ware’, one year later, which really cemented his reputation as a talented designer and ceramicist. The arrangement of sinuous flowing lines and intricate foliate patterns were outlined using an applied raised slip, a technique known as tube-lining. Moorcroft was meticulous, and oversaw every stage of production to ensure quality was met at the highest level; and Florian Ware was the first range in which Moorcroft began to sign his name or initials on every piece he worked on and supervised. Over the next few years, richer colours were introduced and several new patterns were registered. In particular, the charming designs of trees amongst rolling hills in an English countryside caught the eye of Liberty’s in London, and a partnership was soon struck between Moorcroft and the company. who remained a major outlet of his pottery, as well as other significant retailer’s such as Harrod’s and Tiffany & Co. In 1912 Moorcroft’s relationship with the directors at James Macintyre disintegrated and in 1913, with the financial backing of the Liberty family, he opened his own pottery in Cobridge. He was inundated with orders from several distributors who were keen to support his venture, and many of the popular patterns from the Macintyre period such as Spanish, Pomegranate, Hazeldene and Claremont, continued to be produced at Cobridge. However, he was also keen to develop his particular interest in his Florian-style designs and some of these early Macintyre patterns were revived and redeveloped in bolder forms and richer colours from the late 1920s. By the 1930s, tastes were beginning to change and whilst English native flowers always remained central to his most popular wares, Moorcroft started to look further afield for new inspiration. Amongst some his hi contemporaries, for example Charles Noke and Bernard Moore, there was a growing interest in the high-fired Oriental wares which produced the most intense and dramatic effects. To achieve these flambé glazes Moorcroft built his own special kiln and was highly secretive about his methods, however the ware produced as a result were arguably some of his most remarkable, given the complex and demanding nature of the skills required. Whilst other potteries sought to deliver a consistent sang de boeuf colour, Moorcroft embraced the unpredictable nature of the kiln and the eccentric array of colourful glazes it could produce, making every piece unique. Walter Moorcroft took over management of the pottery after his father’s passing in 1945. During a few difficult years of transition, his father’s designs were crucial in ensuring the success and continuation of the business, but soon after Walter developed his own style which matured into the 1950s. William displayed a clear preference in using English flowers and landscapes for his wares, however Walter was fascinated by more exotic species and so patterns such as Hibiscus, Arum Lily, Caribbean and Marine began to emerge alongside a dramatic use of colour. Importantly, Walter was also knowledgeable of the transmutation process and exhibited the same skill as his father to continue the production of flambé wares. In 1998 the pottery established a new Design Studio, led by Senior Designer Rachel Bishop, to further expand its range of products and continues to build on William and Walter’s legacy today.
Lot 189
‡James Tower (1919-1988) Sea Piece, 1985 tin-glazed earthenware large vase incised Tower 85 525cm high 57cm wide Provenance Contemporary Ceramics, Bonhams, 26th March 1992 Private Collection Literature Paul Rice and Christopher Gowing British Studio Ceramics in the 20th Century, 1989, page 153 this vase illustrated Timothy Wilcox The Ceramic Art of James Tower, Lund Humphries, page 165 catalogue number 186
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